My Top 40 Albums - #31

#31
Michael W. Smith - "The Big Picture"

Year: 1986
Label: Reunion
Favorite songs: Pursuit of the Dream, Lamu, Wired For Sound, Old Enough to Know, The Last Letter, You're Alright
Lyric sample: "Comin' on like a tidal wave that washes through the brain / A state of mind / No dispute when the noise is made and so it lets the blind / Lead the blind / Lured by charisma / To be swayed to believe // Word of mouth is the counselor / There is no need for proof / In a world that's wired for sound / The tongue becomes a mighty sword / That battles the truth / In a world that's wired for sound"

Reaching back to the year of my birth, I've pulled out this unusual album by Michael W. Smith. Probably to some it's been forgotten, lost in the annals of history, overshadowed by more mature releases like Live the Life or Dove winners like Go West Young Man. I remember when I first heard this album I wasn't expecting much. It was older and so I somehow thought that it would be softer and quieter, although I had already been disappointed by Smith's more recent (at the time) I'll Lead You Home. When I put this on I surprised at the sonic assault. A swelling wave of sound gave rise to pulsing synths and drum loops, followed soon by Chris Rodriguez' wailing guitar licks.

"Lamu" and "Wired for Sound" assured me I was listening to no fluffy, generic 80's album - and no fluffy, generic Smith album either. These two songs alone carry enough worth to recommend this disc for a listen. To me, they are superior at least on the level of musical robustness, to the more popular songs like "Rocketown" and "Old Enough to Know." These were the two offerings that made Smith's first hits record in 1992. It's not really surprising that "Old Enough" made the cut. This really is a good song and because it's not over the top like some others on the record, it doesn't sound as dated. "Rocketown," however, is more quirky than anything. Sure, it's a good song, and in some ways it's the moral center of the record. I suspect its popularity is due to radio attention it received at the time of its release, though my initial inquiry into the matter was inconclusive). Radio people are notorious for shying away from great songs if they are ambitious and instead picking merely good ones that fit their format. But enough of that.

I consider The Big Picture is Smith's first great album. One of the things that makes this album special is that it marks the first pairing of Michael W. Smith with long-time collaborated Wayne Kirkpatrick. Kirkpatrick is a prolific and truly gifted lyricist, and the music benefits from his input. The songs strive with the youth of the nation. There is a zest for life even while dealing with some difficult issues like suicide, bad relationships, the erosion of truth, and more. Smith encourages the kids to follow God, chase their dreams, and make the most of their life. Of course the music is growing, too, and we see here a more aggressive, creative, and diverse grouping of songs than appeared on his previous two releases. One need only listen to "You're Alright," a raw rocker driven by the pounding snare and growling guitar that boasts the record's longest guitar solo in the outro. One of my favorites is The Last Letter - which is, you guessed it, an anti-suicide song. "Voices" as the ballad is kind of a weak spot, and "Goin' Through the Motions" is a little silly, but it's loud and fun. When I listen to it I can't help but think it's pretty awesome. It's the "Help You Find Your Way" of this record. Leave it to Michael W. to take such a cliche title and turn it into something great.

Smitty fans should look back and check this out if they don't own it or haven't listened to it in a while. 80's fans should find it an interesting period piece. Christian music aficionados will hopefully recognize its significance and who knows - maybe they'll even find themselves tapping their toes.

My Top 40 Albums - #32

#32
The Juliana Theory - "Deadbeat Sweetheartbeat"

Year: 2005
Label: Abacus
Favorite songs: Shotgun Serenade, This Is A Lovesong... For the Loveless, French Kiss-Off, 10,000 Questions
Lyric sample: "What good is dreaming when I can't even sleep here / What good is lying down with no one to hold / What good is letting go when something won't let me / What good is saying goodbye / Now that you're gone"

The Juliana Theory's final repose is in some ways their finest. Singular in purpose, this is break-up record - no bones about it. Now...never in my few years of life have I had a particularly painful breakup. More than most people, perhaps, my heart is relatively unscarred from the battery of difficult relationships. So it's not so much that I personally identify with the sentiments as expressed, at least not any more than I might identify with a movie character in far less plausible circumstances; and maybe I am actually able to enjoy them more because they don't dredge up painful memories for me to dwell on. Yet, there is something pure here, an unbridled emotion that is equal parts anger and anguish, resignation and stubborn defiance - and I can't help but admire it if for no other reason than its audacious abandon. I'm sure it's a catharsis for me as well. I feel not my own emotions, but those of the unseen speaker. I feel the sense of loss in moments of quiet parting, and I coast on the energy of the angry tirades. There are some really great angry tirades on this record, too. To feel these things so clearly shows a remarkable fusion of music and lyrics. If I were just to read the lyrics, maybe I would write them off as angsty drivel, an angry teenager spouting off. But that's not what I find when I listen to this album. All the elements are so dependent on one other, each augmenting the other, so that the whole is far greater than the parts. If this is emo, then you got me. I love emo.

At very least I love the Juliana Theory's expression of it. I've been following the band for a while, and each record has a unique style. Following the garage shoe-gazing of the first, the prog-pop of the second, and the heavy rock of Love, Deadbeat Sweetheartbeat is just good rock music. It's the first album in a while that does not feel overproduced. It's very upfront, and this adds to the urgency of it. It puts you close to the music. Brett Detar's voice is better than ever, the drumming is better than ever. The guitar work is at is most defined. Every note has a clear place in the mix and a sense of purpose. Not one to do a lot of soloing, there is even a great lead part in "Shotgun Serenade" that reminds me of the Toxic Seahorse stage in Mega Man X3. <_< Moving on...

The track list is a pretty even mix of fast-paced rockers and more subdued, numbers. As is often the case, the rock songs are the standouts, and even the bands admits that they are the pillars of the record lyrically as well as musically. The way "Lovesong..." builds is enjoyable, and the two halves of the chorus compliment each other well. I especially like the extra harmony thrown in at the end to seal the deal. "Shotgun Serenade" is probably the signature track, and it features not only the best rock on the record but also the most scathing lyrics. The stinging line "You're not my favorite mistake / You're just a simple regret" is equivalent to a sonic punch in the gut. Of course there's no denying the emotional toll that it all takes, even on "forget you" songs like "This Valentine Ain't No Saint" with sardonic sentiments like "At least I got away with your money / And all you got was my heart." The final track, "French Kiss-Off," is the most manic song on the record, perhaps mimicking the behavior a girl who has turned to cocaine abuse with blink-and-miss-it metaphor. The track ends with a resurgence of the main riffs and an incredible, wrenching scream by Brett Detar that lasts for a solid 30 seconds. There's some relief from that exhausting display with a long semi-hidden track with a beautiful guitar part and one of the most melodic choruses on the album. It's actually a highlight of the CD and not to be missed. The Juliana Theory went out with a bang on this release which has quickly come to be numbered among my favorites.

My Top 40 Albums - #33

#33
Seven Day Jesus - "Seven Day Jesus"

Year: 1998
Label: Forefront
Favorite songs: Who I Am, I Will Find You, Always Comes Around, Butterfly, Down With the Ship
Lyric sample: "You stay up all night long / And you wrestle with yourself / And it only leaves you tired / Then you see the mess you've made / Trying to trade the things you know / What you believe, for this control / It's too bad your will don't roll / Because you're standing in the way"

I gotta say, I missed the boat on this one back in 1998. I had heard "Always Comes Around" on a sampler (one of the best samplers ever, btw) and I liked it, but I wasn't sure I liked it enough to risk a whole CD from people I didn't know anything else about. So I just sort of forgot about them. It wasn't until two years ago when I started rooming with my current roommate Russell Shipp that I was reintroduced to this group that apparently only made two albums, and at that point I learned just why this disc is respected by Christian music fans. There are a few gems of 90's Christian rock that represent the best of what that period and genre had to offer; and make no mistake - this is one of them.

It's not so much that it's terribly unique. If you listen carefully, you might discern similarities to contemporaries like All Star United, Skypark, Smalltown Poets, Switchfoot, Third Day, Big Tent Revival, and more. What sets this disc apart is simply that it's so well done. For one thing, Brian McSweeney is a vocal powerhouse. The album spans a variety of territory and he shows that he is more than able to carry each style. He croons, whispers, belts, and even screams just a little, surprising for a pop-rock outing like this. It's all super. Probably more important, there is an exquisite sense of melody that runs through the disc. Seven Day Jesus is rarely if ever flashy. Everything they do is very grounded and well-integrated, but the chord progressions and melodies simply stand out as being way above average. You know those CD's that you pick up, and you like something about them, but you just don't ever listen to them. Why? Cause there's an elusive spark missing, and I think most of the time this speaks of poor songwriting and boring melodies. Seven Day Jesus has no gimmicks - just great writing and musicianship. It does help that, despite the definite 90's time frame, there is a bit of a retro feel to some of the songs. Like Skypark, they have a guitar tone that is not always used and it really works for them.

I'm always one to define great songs by great moments, and this is a disc full of moments. Perhaps my favorite few seconds on the disc is during the rocker "Who I Am." The energy builds into the bridge where the vocal elevates from a note into a raspy scream, and the music hits and cuts out for a second, leaving just the scream plowing through the vacant airspace and then resumes with equal zest for another chorus. It always leaves a smile on my face. Another is the bridge of "I Will Find You." Between musical pickup and the reciprocal lyrics which for some reason I find entertaining - "I'm not going to think about it / I'll forgive if you forget / Think about it, I'm not going to / We can get around this mess again" - the progression then fights with the sustained vocal note in a few seconds of magnificent tension, before breaking into harmony and a twangy guitar solo. These are perhaps the best but they are certainly not the only highlights. The "record album" beginning of "Down with the Ship," the mature rock sound of "Always Comes Around," the joyful pop passages of "Butterfly," it could go on and on.

This is a record that's easy on the ears and good for the soul.

My Top 40 Albums - #34

#34
Sanctus Real - "Say It Loud"

Year: 2002
Label: Sparrow
Favorite songs: Inspiration, Say It Loud, Audience of One, Captain's Chair, The Way I Feel
Lyric sample: "Twenty hour drive through the Rocky Mountains / Won't be stoppin' now cause you know we're rockin' / Tell me, what has happened / The stereo's stuck with the jukebox jammin' now // Stop wishing it were backwards, it is now or never / Stop wasting all the time we could have spent together / Wishing you would come back here / Times were better last year"

Sanctus Real's breakout album is easily their best, and it's no wonder. Prior to this debut on Sparrow records, the Buckeye quartet had released several independent records. The most recent, Nothing to Lose, contained earlier versions of many tunes that eventually appeared on Say It Loud. Thus, the band had worked for years writing these songs and honing them on the road. The result is a tight and focused collection of high-energy rock tunes.

It's almost a perfect record. The lead singer/guitarist Matt Hammitt's vocals are smooth and effortless, instantly elevating their music over dozens of similar groups. Although the two guitar, bass and drum setup has been done to death since the 1960's, so many bands are trying to get noticed with some sort of gimmick; Sanctus Real simply cranks up their amps and sings at the top of their lungs, and by jove, it works. Mark Graalman's drums serve as a wonderful backdrop. Listen closely on songs like "Inspiration," and you'll hear his tireless high-hat work. I love a drummer with good high-hat play. Chris Rohman works closely with Matt on writing duties and also on guitar. The two weave their parts together beautifully for accentuated rhythm or even dueling harmonic leads. It's just positive rock music done extremely well. The band's ability is confirmed by the fact that they also sound great live - much like the recording as well.

"Sink or Swim" is a fine appetizer, a warm-up track if you will. It almost seems that the CD officially begins with the dramatic entrance of "Captain's Chair," the first stadium rocker that showcases the band's signature sound and leads directly into their big single and title track "Say It Loud." Both of these two songs are album highlights, and they fit so well together you almost can't have one without the other. "Hey Wait" is one of two really proper ballads. Hammitt soars on its melodies. Then it's back to the rock with "Inspiration" and "Audience of One," the latter being perhaps the most aggressive track. I simply love the guitar sounds on this record. I don't know how they get them but they please me to no fixed end. Even Sanctus themselves have never quite recreated them, although "Alone" from Fight the Tide comes very close. The final third is not quite as memorable, but "Nothing to Hide" and "Won't Walk Away" continue the rousing sounds that the group has established. "After Today" finishes out with its slowly building passages. Sanctus Real was clearly young when they wrote most of these songs, and "After Today" puts the cap on the theme of changes that occur early in life and apprehension about the future.

So why did I say that it is almost a perfect record? Mostly because the lyrics, while usually fitting to the music, don't show a lot of originality or depth. The song titles are some of the most boring I've ever seen. I mean, we are talking about a CD that has a song called "I Love You." That's right. "I Love You." Like there haven't been 160,484,237 songs already called "I Love You." The good thing is that during the listen this really doesn't distract. It's a well-produced, punchy, fun CD that's great for singing with your friends while you drive along with the top down.

My Top 40 Albums - #35

#35
The O.C. Supertones - "Loud and Clear"

Year: 2000
Label: BEC
Favorite songs: Jury Duty, Spend It With You, Wilderness, Escape From Reason, Return of the Revolution
Lyric sample: "We try to be emotional but here is our mistake / As a church we lack repentance / And we lack true affection / Not only in our minds, but our hearts need correction / And man that's true religion / Resignation and contrition / To love each other so much that we'd die before division"

Harsh words once again mixed with energetic party music. Like Martin Luther or John Edwards, both of whom get their names dropped in "Return of the Revolution," Matt Morginsky is something of a voice crying in the wilderness. He's the Steve Camp or the Keith Green of his generation. "Return of the Revolution," which, according to the liner notes, could have been a sprawling 9-minute epic had all its verses been included, is basically a sermon to the modern church calling for repentance. Many of the high-ranking albums on this list can be called more mature than earlier efforts by the same band or artist. Loud and Clear is no exception. We saw nuggets of this kind of preaching in Strike Back, but likes of "Revolution" and "Escape From Reason" really pack a wallop. Backing up the lyrical fire is a tighter, heavier musical version of the Supertones. Example: The opener "Escape From Reason." When I first heard this on the radio, I had no idea it was the Supertones. It's aggressive rap-core unlike almost anything that the band has done previously. The guitars have never sounded better and the song writing remains strong. Loud and Clear should command the kind of respect that ska albums often don't.

Guest appearances by the likes of Grits and Toby Mac are interesting, but what really sets Loud and Clear above the other Supertones albums is consistently strong songwriting. "Wilderness" and "Jury Duty" should instant greatest hits contenders. I don't particularly care for some of the more reggae tracks like "My Father's World" and "Lift Me Up," but there are plenty of straight up rock tracks to make up for it. The forthright "Pandora's Box" leads into a string of upbeat guitar-driven songs like "Another Show" and "20/20." While Chase the Sun seemed to retreat a lot of the same territory as Strike Back, Loud and Clear feels fresh, with its own distinct sound and direction. It's professionally assembled. Ironically, only "Forward to the Future" really recalls the O.C. sounds of yesteryear. Perhaps the most underrated track is the finale, "Spend it With You." It's long been one of my favorites. It may not be as challenging or deep as some of the earlier powerhouses, but I feel it has an understated poignancy belied by the laid-back pacing in the verses. The driving final verse and ending chorus is sonically pleasing but there is somehow a tinge of sadness or incompleteness tugging at the corners that I believe is intentional. Maybe not everyone would pick up on this, but that is the complicated emotion with which the song leaves me. My only complaint is that it fades out far too quickly at the end. They should have left the jam going for a while.

All in all this is the Supertones' strongest release, and looking back on the career they've had, that's saying something. R.I.P. O.C.

My Top 40 albums - #36

#36
SONICFLOOd - "Sonicflood"

Year: 1999
Label: Gotee
Favorite songs: Carried Away, My Refuge, Holy One, I Want to Know You, I Have Come to Worship
Lyric sample: "You are the wisdom of the ages / You are the one who stays the same / The power in the wind / The sun left by the rain / How could I begin to make it / If all I had was me / Just take me as I am Lord / And sweep me out to sea"

This is one of only two CDs on this entire 100 albums list that fall expressly into the "worship" category, and the only one in the top 40. That alone should tell you something about the enduring quality of this disc. I'm not one to listen to worship music for entertainment - and let's face it, usually it's not very entertaining. Of course, worship by its very nature is about God and not about me, so I have no conceptual problem with that. I'll sing the songs in church, but when I want to kick back and chill, on goes something a little more versatile. These days we live in something of a worship revival, and more and more talented musicians are infusing the genre their own flavors. We have more at our fingertips in every genre than ever before. In 1999, this was not necessarily so. In fact, many people were taken aback by Sonicflood's, if you'll pardon the expression, ballsy rock worship effort. Our local Christian station wouldn't play my requests because they didn't fit the format. Fortunately I had some great youth leaders at the time who gave us kids something worthwhile to listen to. The lyrics say holy, worthy, I want to know you. The vocals tenderly cry out for God. BUT! The drums kick and pound, the bass thumps, the guitars grind and roar. This is rock music meets worship in a way so passionate and pure that not only had I never heard anything like it up to that point, I've never heard anything like it since.

In these glorious days, Jeff Deyo was the frontman for the group. His strong and distinctive presence helps move the songs forward. It's tender enough for the soft moments like "I Need You" and edgy enough to carry the almost-screams of songs like "My Refuge." Of course he wasn't the only class musician in the group. Keyboardist Jason Halbert had been on tour with dc Talk, and the rest of the group were no slackers either. The group hits the speakers guns blazing with "I Have to Come to Worship," a modern rock blitz that knocked most listeners of the time off their feet. Despite poppy vocal expressions on the likes "Holy One," and the cover of "I Want to Know You," these songs still rocked hard, the former particular featuring some grating distortion in the background. Speaking of "I Want to Know You," when was the first time you heard that song? Do you seem to recall there being "bop boddop bop bop ba's" in it? Sonicflood's rendition is practically the definitive version of the song. Like Hendrix's "All Along the Watchtower" or GnR's "Knocking on Heaven's Door," Sonicflood didn't write a lot of the songs on the album, but for a generation, they defined them. Not content to merely play three major chords and a minor one, Sonicflood chose their chord voicings carefully, threw in some surprise progressions and creative harmonies, and generally added a unique alternative flare to these tunes. They move between bright acoustic segments, dark string arrangements and bursts of energy with ease. This unmistakable devotion to excellence makes the CD stand out over countless covers of these same songs. Kevin Max even appears as a guest vocal on "Something About That Name." Yes, between Kevin and Sonicflood, even a Gaither song becomes listenable. To this day, this record contains the only versions of "Holiness," "I Can Sing of Your Love Forever," and "Open the Eyes of My Heart" that I consider canon. Silly, you say? Eh, maybe. But they are really great versions. If you don't believe me I beg you to hear them. Chances are you've been getting by on some fairly lackluster substitutes.

AND... speaking of lackluster substitutes, I give you every album released under the Sonicflood name after SonicPraise. Deyo and all but one of the original members left the project. Only bassist Rick Heil remained, gathering a new group and assuming lead duties. However, the magic was long gone. Since 2001, Sonicflood has put out several records and had a few radio singles, but they've never done anything really memorable. Their voice ceased to be distinct and blended with all the other CCM radio clones. I don't know if they are still around. I don't care. I do know, however, that this first record remains a milestone achievement, a great listen, filled with uplifting and striking arrangements that reminds me of a good time in my life.

Jeff Deyo went out to release a few solo records which maintain more of the trademark Sonicflood feel than the subsequent albums by the titular band. In that way, his Saturate is the unofficial sequel.

My Top 40 Albums - #37

#37
Skillet - "Comatose"

Year: 2006
Label: Atlantic
Favorite songs: Whispers In the Dark, The Last Night, Falling Into Black, Comatose, Rebirthing
Lyric sample: "You come to me with scars on your wrist / You tell me this will be the last night feeling like this / I just came to say goodbye / I don't want you to see me cry / I'm fine / But I know it's a lie // This is the last night you'll spend alone / Look me in the eyes so I know you know / I'm everything you want me to be"

I got excited about Comatose when I saw Skillet live at Ichthus festival a year or two ago. Along with standards like "Savior" and "You're Powerful," Skillet played two new songs from their upcoming release. "Rebirthing" was a cool song, but the "The Last Night" was a song that really made an impact on me. Normally when you hear a new song in concert, you don't really get much from it. You might like it, but with sound issues and everything, sometimes you don't really get a good feel for how it will sound on the record. "The Last Night" was different. John introduced it and explained that the song, a duet between he and his wife Korey, was a conversation between a girl and God. ("I sing the part of God, because I'm awesome," he quipped.) It was an emotional though ultimately uplifting song. It nearly brought tears to my eyes right there in the crowd - I got chills. Very unusual. Yes, this new Skillet record was going to be something special.

Ever changing and ever the same, each Skillet album is always something different. Their sound evolves with every release, but John Cooper's vocals and lyrical style is the center around which these stylistic variations revolve. Comatose finds the band moving from the gritty hard rock of Collide to a smoother, more compressed radio rock. This could have easily been disastrous, and almost was. Songs like "Yours to Hold" seems just a little too radio eager - a bit overproduced and sappy, but it's nothing compared to "Those Nights," which comes much closer to pop-punk than anything that should appear on a Skillet record. Tracks like this could derail the effort, which becomes hit and miss.

Fortunately, the hits hit big. The rock songs are some of the finest Skillet has done. With fantastic bass-heavy guitar riffs, added piano and synth, and catchy melodies, these songs carry a smooth but deadly force. "Rebirthing," the anthem that starts the album, gives us a good taste of what we can expect. Followed by the "Those Nights," it's an unforgettable one-two punch. Both songs pack a lot of power and energy as well as emotion. The latter sounds like it has kind of a minor verse but manages to sound almost happy and soaring on the chorus without losing any of its punch. This style goes a long way to explaining the success of the album. A similar formula is followed on "Whispers," perhaps the best song on the album. "Falling Into Black" recalls the sounds of Evanescence or Nightwish. It's high time Christian music had something approximating those sounds, and Comatose should be somewhat satisfying for fans of that goth-rock angle. The title track is another highlight, accented by striking strings and prominent harmony. One of the virtues of this disc is that the band finally let Ben Kasica show off his chops. He flirted with his potential in "Imperfection" on the last record, but here his blinding solos on songs like "Rebirthing," "Whispers in the Dark," and "Better Than Drugs" are the icing on a particularly delicious cake.

"Better Than Drugs" is a classic Skillet lyric, always flirting with metaphors that seem dangerous. However, if there is one downfall to Comatose it is the lyrics. They just don't seem inspired like in previous outings. It's hard to pick out any really interesting phrases. The music is enough to carry it, but sincerity doesn't completely make up for the lack or originality. "Say Goodbye" is almost embarrassing in this area, and it's not the only one with problems. "Looking for Angels" adds some interest. "All the faces are filled with so much anger / Losing our dignity and hope from fear of danger / After all the wars / After settling the scores / At the break of dawn will we be deaf to the answers." But it's  too late to really redeem the rest. So while it's not Skillet's best record, it's still very good and certainly fans will find plenty to be happy about. Hopefully they also gain some new listeners with their new and accessible sound.